Doctor Who: "The Name of the Doctor"Review

Whatever you think of Steven Moffat and his tenure as Doctor Who's showrunner, it's impossible to argue that he's nothing if not an ambitious man.

All throughout his run he's seeded tantalising teasers over the most obvious fanboy question hiding forever in plain sight – just who is Doctor Who?

So there was a lot of expectation leading into the grandiosely named Season 7 finale 'The Name of the Doctor' – an episode that had to reveal the truth behind the Doctor's new companion Clara, address that bravado-braving episode title, pay-off years of mythological build-up surrounding the ominous planet of Trenzalore, AND set-up the paradox-imploding craziness of the show's biggest ever celebration, the 50th anniversary.

And while it wasn't perfect, it's hard to deny that Moffatt didn't succeed in all almost the above.

Straight out of the gate, the adrenalised, epic pace was set, with a dizzying montage that immediately set the tone for the 50th anniversary and made Clara's imminent reveal even more exciting – Matt Smith's is far from the only Doctor that Clara's met in the past.

While that teaser was swiftly parked, a bigger threat was immediately raised – the Great Intelligence and his Whispermen were on the hunt for the Doctor's closest friends. One hugely entertaining psychic tea-party later, and the stage was set for an ultimatum the Doctor simply couldn't refuse – travel to the prophetically terrifying planet of Trenzalore or watch Jenny, Strax, and Madame Vastra brutally murdered.

The only snag? Trenzalore happens to be the biggest timey-wimey threat the Doctor has ever faced – the place of his death, and all the head-scratching impossibilities that come with confronting it.

Throw in an appearance from the Doctor's ex-wife River Song, the death (of sorts) of the TARDIS, and a space-time continuum-fracturing tomb with the potential to re-write the Doctor completely out of existence, and there was more than enough going on to deliver on the breathtaking, epic scale the episode deserved.

Let's get the stuff that didn't quite work out the way first. Richard E. Grant certainly brings his best 'panto villain' theatricality to the role of the Great Intelligence, but with such an identikit justification for vengeance, and a perma-scowl growl of an intimidation tactic, it's a performance and character that can't help but feel a little underwhelming and, ultimately, not very threatening.

And while the episode's new villains The Whispermen certainly impressed initially, their look and schtick seemed very Buffy The Gentlemen-lite, and their power-set was flimsily unspecific – the ability to rattle off a nifty rhyming couplet, hiss a bit, and poke people in the chest does not a great villain make.

Elsewhere, however, everything sung. The threat itself may not have terrified, but the foreboding build-up and plot-shifting repercussions certainly hit home.

Ironically enough, while the fact that we never heard the answer to the titular teaser will undeniably irk the fans who have been waiting for the Doctor's real name (we're still rooting for 'Clive'), the lack of a big revelation said more about the show and characters from a narrative and emotive point of view than any huge name reveal could've.

The name is fundamentally unimportant – all we've ever needed to know about the Doctor is expressed through his relationships with those around him. And when the chips are down, it was heart-warming to see him risk everything he ever was to yet again save the day.

Which brings us onto the true big reveal, and Clara finally living up to her Impossible Girl tag. If you managed to guess her secret pre-episode than you're a cleverer (and likely more psychic) man than me – but for what is ultimately a pretty perplexing concept (Timelord death energy causes a rip in the space-time continuum that's exploited by a madman who uses it to rewrite history before a companion sacrifices herself and splinters herself across the timestream to save the day), the execution was surprisingly simple – and satisfying – to follow.

It grounds the Doctor and Clara's relationship in a deeper, more poetic melancholy, and in true Moffat style, it manages to answer one question whilst teasing a whole host of others – the set-up alone oozes all kinds of fanboy questions as we ramp up for the reverential 50th anniversary.

Unsurprisingly, the performances were completely up to the task, with Matt Smith and Jenna Coleman nailing the heart-wrenching back and forth of the dangers and sacrificial realities facing them in moving, emotional style.

Exit Theatre Mode

Kudos too to Alex Kingston, who returned for what feels like true closure for River Song and her involvement in the Who-niverse, in a scene tender enough to throw up a few character surprises – sure, we didn't get to hear the Doctor's name, but his confession over his fear of saying goodbye revealed more emotional layers and said more about his character than any moniker ever could.

Which is fundamentally why 'The Name of the Doctor' was the most complete and satisfying Who finale in a while – while the genre-quaking spectacle and timey-wimey grand concepts were there in abundance, it was the quieter, emotionally devastating moments that truly connected – and drove the series into exciting, daring new directions.

The Verdict

Which is fundamentally why 'The Name of the Doctor' was the most complete and satisfying Who finale in a while – while the genre-quaking spectacle and timey-wimey grand concepts were there in abundance, it was the quieter, emotionally devastating moments that truly connected – and drove the series into exciting, daring new directions.